Equus and Gattaca correspond in their development of similar ideas regarding the societal and behavioral connections between power and control, although Shaffer and Niccol differ in their approach to the latter. concepts through cinematographic and theatrical techniques. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Both Gattaca and Equus explore the influence and control of higher divine powers through the use of sound patterns. In the play, the sound of Equus becomes a prevalent auditory element produced from the choric effect of buzzing, thumping, and stamping while serving to indicate the presence of "Equus the God." These auditory devices emphasize the power of the deity to disturbing and provocative effect, increasing in intensity as its influence over Alan intensifies. Similarly, the Gattaca organization in Niccol's film demonstrates the divine powers granted to scientists, with a presence that hovers over the characters like an ever-observing god. The constant announcements in the background over Gattaca's public address system serve to remind the audience of this dictatorial authority, reinforcing the company's influence and involvement in the actions of the robot-like employees. Alternatively, Shaffer draws on allusions to equine domination to take this further. apply the concept of transcendent power. This is especially evident when Dora refers to horses in a religious context by directly quoting the Bible with "The glory of his nostrils is terrible!" » as Alan imitates "He swallows the ground with ferocity and rage!" These references illustrate the horse as a powerful being, a notion that grows and metastasizes to form a god in Alan's mind, as he seeks to harness this power. Shaffer also uses selective language to emphasize Equus as a symbol of pure strength, as Alan's descriptions focus on physical strength with words such as "big" and "huge" in association with his attention worn on powerful parts of the body such as the “hooves”, the “flanks”. and “neck”. In contrast, Niccol uses angled planes to indicate which characters possess power in specific situations. This can be seen during the opening flashback scene; a high angle shot of Vincent as a young child on the ground depicts the character as weak and vulnerable, ironically due to his DNA reflected by the double helix model he happily plays with, while the Next middle shot presents the scientist as a dominant authority. scorning Vincent with the god-like ability to manipulate genetics. As the protagonists of both texts confront the domination of these divine authorities, Shaffer and Niccol simultaneously use character development to examine the complex shifts in power in relation to gaining or losing it. the hands of another. In the dystopian world of Gattaca, having a perfect genetic identity guarantees success; Eugène thus symbolically transfers his own power to Vincent by detaching himself from his first name by insisting that Vincent call him “Eugène” rather than “Jérôme”. This signifies the moment when Vincent takes control of his destiny, claiming the power that Eugene offers, the composition of the shot conveying this transfer as the differences in height emphasize how Vincent is instantly superior to “Eugene”. Conversely, Shaffer establishes a bond based on sexual dominance between Alan and Equus, which explores how power can be achieved through.